The painting has been tightly relined and the paint surface is slightly pressed as a result. The surface is clean and the painting is presentable. The paint surface overall has been very well retained and detail is very good throughout. Examination under UV light reveals scattered very small retouches evenly distributed. There are larger areas of retouching in the background at upper right and left, and an area under Christ's legs in the white drapery over what may have been a compound tear. Another area of retouching runs horizontally through Christ's lower legs over to the right edge. These restorations have been well applied and there is no need for further work. Offered in a carved and gilt wood frame with minor nicks at the edges.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

We are grateful to Dr. Marco Simone Bolzoni for endorsing the attribution to Arpino.  He dates it to late in the artist's career.

This painting relates closely to another painting of this subject by the artist in the Fondazione Sgarbi-Cavallini.¹  That painting has been dated to circa 1630-35.

1.  See H. Röttgen, Il Cavalier Giuseppe Cesari D'Arpino, Rome 2002, p. 470, cat. no. 251, reproduced.